Bring Back The Old Carters The Carter 3 is a good album , but is Waynes weakest by far.
If you havnt heard the old Carters then i suggest that you listen to them before claiming C3 is Waynes greatest album.
Dont get me wrong C3 is still a top album ( 5 Stars ) but i think it is highly overated.
Most Recognisable Tracks include Lil Waynes hit Lollipop Ft Static Major.
A Millie
And Got Money Ft T-Pain
Artist such as Juelz Santana, Fabolous, Bobby Valentino and Jay-Z also feature among others.
I recomend this album to anyone but suggest that listeners also listen to Waynes early work Eg. The Carters 1 & 2 , 500 Degreez.
Also Waynes Mixtapes Eg. The Droughts , Dedications , The Leaks.
Wayne has SURPRISED ME!!What can i say? I'm not a fan of Lil Wayne probably because of his "I'm the greatest rapper alive" which he clearly isn't, but this album has made me think that he may not be the best but he definitely can rap now! I don't like all his songs but a few of them do have a vibe of flow and hard hitting lyrics. I have liked his previous music from past years, this man definitely can be put into top 20 rappers of all time, he is the first pure artist since Mr. Slim Shady but don't be foolish because he doesn't come close to Tupac, Eminem, Nas and a few others. Those are the Untouchables.
Not saying Wayne is average but I don't see him trading lyrical content with Eminem and winning.
This is the CarterGreat Album. Everytime I get into my car I start at track 15, Fabolous kills that with his Wayans Brother Rhyme.
I have been a Lil Wayne fan since the Hot Boys and he came into his own with THE CARTER album. This is the Carter is an all time classic single.
I just wish Mannie Fresh did some production on this album, that would have made it perfect.
Great Album, do not judge it by the Lollipop Single (Which I think is rubbish), it was made for the mainstream.
What the hell is wrong with people?A powerful rich white man sits in his leather chair atop his huge music empire. Prising a Cuban cigar from his mouth, he smiles as he approaches the young black man that has just entered his office. The young black man awkwardly accepts the rich white man's offer of a handshake. The white man excitedly urges the young black man to sit down. His excitement increases upon the sight of the loose-fitting apparel and silver chain donned by the young black man.
"So how are you going to make us richer?" the powerful white man asks, aroused now as he notices a bullet scar on the left side of the young black man's neck.
"Well, I want my lyrics to inspire kids to stay clear of guns, drugs and violen..."
"Get out."
The next day, the same powerful, rich white man is smoking his cigar. Another young black man enters the building. Awkwardly dressed in a suit, the rich white man offers a less-than-enthusiastic handshake. The young black man seems uneasy with the gesture, but eventually unfolds his arms and reaches out his left hand. The rich white man surveys the black man, noting with dismay a lack of scars. He asks the same question as they both sit down.
"So how are you going to make us richer?"
The young black man thinks for awhile, before answering:
"Well, I want to rap about bitches and killing niggas and shi..."
"I'll have you on MTV this afternoon."
The sad fact is, record company execs do not want to distribute to the mainstream audience hip-hop that is thought-provoking and intelligent, free of violence, doused with hope. Those artists that do convey such a message are relegated to smaller labels or merely recieve limited exposure. The argument that they are simply supplying to the demand of their audience is not a valid one. These people have the power and influence to control what the audience demands. Were labels, radio and music-channels to continually expose the likes of Common, Immortal Technique, Lyrics Born, Atmosphere, Talib Kweli, The Roots, Jurassic 5, Blackalicious, Nas etc. to the same extent that they do the likes of Soulja Boy or Lil Wayne, there is no doubt that the audience's demands would change.
Unfortunately, that is not, and possibly never will be, the case. Instead of offering young kids positive role models, inspiring aspirations that do not involve bitches, guns and violence, the people with the power continue to put their backing into illiterate dumb thugs. We don't want to see black people as intelligent and inspirational! No, we want them to continue appearing as violent and uneducated, as a threat to our society.
This guy Lil Wayne is just another example of this racist mechanism that continues to pump out mind-numbingly awful black musicians. He has the lyrical writing ability of a 5-year old; lines about bitches and not being "no homo" are constantly ended with swear words, such is his inability to rhyme properly. The generic Southern beats do nothing to set him apart from his equally-moronic peers Lil Jon and T-Pain. Yet, he recieves the exposure and all the hype. That this album could even be considered the finest of the year, a year in which sees Nas return to form with his incredible Unitled album, simply highlights how widespread this problem has become.
Hip-Hop is not dead. Behind the morons parading on TV with their bling-out teeth, intelligible lyrics and booty-shaking "ho's", there is a huge base of intelligent, conscious rappers. Hip-hop is alive and well; unfortunately those that continue to breathe new life into it are cast aside, labelled "left-field" and "underground", ignored by the powerful rich white people who define the demands of a dumbed-down generation. You can help however by ignoring this terrible artist and his ilk, and searching for the aforementioned talents that are so abundant within this genre. Good music does not have to remain underground.
diversei'll be quick in what i have to say: this album is diverse. It has everything. some soulful tracks, some poppy-little-bit-commercial tracks and some pure street bass-heavy hip-hop.
best track on the album for me: A Milli (this is the heaviest track i've heard in a long time)
Hip-Hop is not dead.
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